The Diploma work is based on the emulation of memories and sensations
through sequenced images rapidly shown on the screen.
The extreme close-up photographs re-create the visual and tactile sensations
from the deep, almost scientific observation and manipulation
of artifacts from the past.
For most of the elapsed time, the viewer can not see
the whole object being shown on screen.
However, according to Gestalt perception principles,
the artifacts will be put together by the brain
after 'flashing' 30 images of each object during one second,
photographed from different angles and points of view.
On the first plane, in the center of the frame, a letter will be added
Also projected during one second (30 frames).
If the viewer dedicates his/her attention to the letters,
will be able to put together and read a phrase,
which clearly marks the beginning and the end of the loop.
Anotace v angličtině
The Diploma work is based on the emulation of memories and sensations
through sequenced images rapidly shown on the screen.
The extreme close-up photographs re-create the visual and tactile sensations
from the deep, almost scientific observation and manipulation
of artifacts from the past.
For most of the elapsed time, the viewer can not see
the whole object being shown on screen.
However, according to Gestalt perception principles,
the artifacts will be put together by the brain
after 'flashing' 30 images of each object during one second,
photographed from different angles and points of view.
On the first plane, in the center of the frame, a letter will be added
Also projected during one second (30 frames).
If the viewer dedicates his/her attention to the letters,
will be able to put together and read a phrase,
which clearly marks the beginning and the end of the loop.
The Diploma work is based on the emulation of memories and sensations
through sequenced images rapidly shown on the screen.
The extreme close-up photographs re-create the visual and tactile sensations
from the deep, almost scientific observation and manipulation
of artifacts from the past.
For most of the elapsed time, the viewer can not see
the whole object being shown on screen.
However, according to Gestalt perception principles,
the artifacts will be put together by the brain
after 'flashing' 30 images of each object during one second,
photographed from different angles and points of view.
On the first plane, in the center of the frame, a letter will be added
Also projected during one second (30 frames).
If the viewer dedicates his/her attention to the letters,
will be able to put together and read a phrase,
which clearly marks the beginning and the end of the loop.
Anotace v angličtině
The Diploma work is based on the emulation of memories and sensations
through sequenced images rapidly shown on the screen.
The extreme close-up photographs re-create the visual and tactile sensations
from the deep, almost scientific observation and manipulation
of artifacts from the past.
For most of the elapsed time, the viewer can not see
the whole object being shown on screen.
However, according to Gestalt perception principles,
the artifacts will be put together by the brain
after 'flashing' 30 images of each object during one second,
photographed from different angles and points of view.
On the first plane, in the center of the frame, a letter will be added
Also projected during one second (30 frames).
If the viewer dedicates his/her attention to the letters,
will be able to put together and read a phrase,
which clearly marks the beginning and the end of the loop.
- Regular consultation with the supervisor -Continuous analysis of the studied topic, theoretical research \textendash Collecting and processing of relevant materials on the subject \textendash Active creativity \textendash Final realization of photographs, video, flip-book
Zásady pro vypracování
- Regular consultation with the supervisor -Continuous analysis of the studied topic, theoretical research \textendash Collecting and processing of relevant materials on the subject \textendash Active creativity \textendash Final realization of photographs, video, flip-book
Seznam doporučené literatury
Zizek, DeLillo, Obrist, Ohner, Grimonprez, Slavoj, Don, Hans, Vrääth, Johan (2003). Dial H-I-S-T-O-R-Y, A Holiday From History. Argos Editions. ISBN 9783775712675.
Grimonprez, Johan, et al (2011). It's a poor sort of memory that only works backwards. Zapomatik. ISBN 978-9-07567-937-3
Balsom, Erika (2013). Exhibiting Cinema in Contemporary Art. From the series: Film Culture in Transition. Amsterdam University Press. ISBN 9789089644718
Deleuze, Gilles (2002) [1983]. Cinema 1: The Movement Image. London & New York: The Athlone Press. ISBN 0-8264-5941-2
Deleuze, Gilles (2005) [1985]. Cinema 2: The Time Image. London & New York: The Athlone Press. ISBN 0-8166-1677-9
Martin-Jones, David; Brown, William (2012). Deleuze and Film, Edinburgh: Edinburgh University Press. 248 pp.
Patton, Paul (1991) Gilles Deleuze, Cinema 1: The Movement-Image; Gilles; Deleuze, Cinema 2: The Time-Image. Screen, Reviews, Volume 32, Issue 2, Pages 238\textendash243, University of Glasgow https://academic.oup.com/screen/issue/32/1
Bergson, Henri (1910) Time and Free Will: An Essay on the Immediate Data of Consciousness, translated by F.L. Pogson. London: George Allen and Unwin.
Mc. Luhan, Marshall (1964) Understanding Media: The Extensions of Man. Canada, McGraw-Hill ISBN: 81-14-67535-7
Geoffrey Batchen, Forget me not: Photography and remembrance, Van Gogh Museum, Amsterdam, Princeton Architectural Press, New York, 2004
GASEK, Tom; Frame-By-Frame Stop Motion: The Guide to Non-Puppet Photographic Animation Techniques, CRC Press,Taylor & Francis Group, Boca Raton, USA; 2017, ISBN-13: 978-1498780612, ISBN-10: 149878061X
SHAW, Austin; Design for Motion: Fundamentals and Techniques of Motion Design, Routledge Taylor & Francis Group, New York, USA; 2020, ISBN-10: 1138318655, ISBN-13: 978-1138318656
STONE, R. Brian, WAHLIN, Leah; The Theory and Practice of Motion Design: Critical Perspectives and Professional Practice, Routledge Taylor & Francis Group, New York, USA; 2018, ISBN-13: 978-1138490802, ISBN-10: 1138490806
CHUN, Russell; Adobe Animate: Classroom in a Book, Pearson Education, Adobe Press, San Francisco, USA; 2020, ISBN-10: 0136449336, ISBN-13: 978-0136449331 ZAKIA, Richard D., SULER, John; Perception and Imaging: Photography as a Way of Seeing, Routledge Taylor & Francis Group, New York, USA; 2017, ISBN-13: 978-1138212190, ISBN-10: 1138212199
ARNHEIM, Rudolf; Art and Visual Perception: A Psychology of the Creative Eye, University of California Press, San Francisco, USA, 1974, ISBN-13: 978-0520243835 ISBN-10: 9780520243835 BARTHES, Roland; The Responsibility of Forms: Critical Essays on Music, Art, and Representation, University of California Press; San Francisco, USA,1991, ISBN-13: 978-0520072381, ISBN-10: 0520072383
BARTHES, Roland; Elements of Semiology, Hill and Wang, New York, USA, 1977, ISBN-10 : 0374521468, ISBN-13 : 978-0374521462
Seznam doporučené literatury
Zizek, DeLillo, Obrist, Ohner, Grimonprez, Slavoj, Don, Hans, Vrääth, Johan (2003). Dial H-I-S-T-O-R-Y, A Holiday From History. Argos Editions. ISBN 9783775712675.
Grimonprez, Johan, et al (2011). It's a poor sort of memory that only works backwards. Zapomatik. ISBN 978-9-07567-937-3
Balsom, Erika (2013). Exhibiting Cinema in Contemporary Art. From the series: Film Culture in Transition. Amsterdam University Press. ISBN 9789089644718
Deleuze, Gilles (2002) [1983]. Cinema 1: The Movement Image. London & New York: The Athlone Press. ISBN 0-8264-5941-2
Deleuze, Gilles (2005) [1985]. Cinema 2: The Time Image. London & New York: The Athlone Press. ISBN 0-8166-1677-9
Martin-Jones, David; Brown, William (2012). Deleuze and Film, Edinburgh: Edinburgh University Press. 248 pp.
Patton, Paul (1991) Gilles Deleuze, Cinema 1: The Movement-Image; Gilles; Deleuze, Cinema 2: The Time-Image. Screen, Reviews, Volume 32, Issue 2, Pages 238\textendash243, University of Glasgow https://academic.oup.com/screen/issue/32/1
Bergson, Henri (1910) Time and Free Will: An Essay on the Immediate Data of Consciousness, translated by F.L. Pogson. London: George Allen and Unwin.
Mc. Luhan, Marshall (1964) Understanding Media: The Extensions of Man. Canada, McGraw-Hill ISBN: 81-14-67535-7
Geoffrey Batchen, Forget me not: Photography and remembrance, Van Gogh Museum, Amsterdam, Princeton Architectural Press, New York, 2004
GASEK, Tom; Frame-By-Frame Stop Motion: The Guide to Non-Puppet Photographic Animation Techniques, CRC Press,Taylor & Francis Group, Boca Raton, USA; 2017, ISBN-13: 978-1498780612, ISBN-10: 149878061X
SHAW, Austin; Design for Motion: Fundamentals and Techniques of Motion Design, Routledge Taylor & Francis Group, New York, USA; 2020, ISBN-10: 1138318655, ISBN-13: 978-1138318656
STONE, R. Brian, WAHLIN, Leah; The Theory and Practice of Motion Design: Critical Perspectives and Professional Practice, Routledge Taylor & Francis Group, New York, USA; 2018, ISBN-13: 978-1138490802, ISBN-10: 1138490806
CHUN, Russell; Adobe Animate: Classroom in a Book, Pearson Education, Adobe Press, San Francisco, USA; 2020, ISBN-10: 0136449336, ISBN-13: 978-0136449331 ZAKIA, Richard D., SULER, John; Perception and Imaging: Photography as a Way of Seeing, Routledge Taylor & Francis Group, New York, USA; 2017, ISBN-13: 978-1138212190, ISBN-10: 1138212199
ARNHEIM, Rudolf; Art and Visual Perception: A Psychology of the Creative Eye, University of California Press, San Francisco, USA, 1974, ISBN-13: 978-0520243835 ISBN-10: 9780520243835 BARTHES, Roland; The Responsibility of Forms: Critical Essays on Music, Art, and Representation, University of California Press; San Francisco, USA,1991, ISBN-13: 978-0520072381, ISBN-10: 0520072383
BARTHES, Roland; Elements of Semiology, Hill and Wang, New York, USA, 1977, ISBN-10 : 0374521468, ISBN-13 : 978-0374521462